17 posts tagged "Dior Homme"
LVMH Gets Its Own Croc Tannery, The Demands Of The “New Breed” Haute Couture Clientele, Kris Van Assche’s Foray Into Film, And More…-------
LVMH has finalized plans to jointly own a crocodile tannery. That means high-quality crocodile skins for the croc coats that its various luxury brands, like Fendi and Celine, showed on the Spring runways. [WWD]
Ateliers are learning to cater to a “new breed of haute couture clients” from wealthy countries in the Gulf. One of their top demands: not having the same dress as their peers. That’s an understandable requirement when you are paying hundreds of thousands of dollars per dress. [Telegraph]
Supermodel Naomi Campbell and her boyfriend, Vladislav Doronin, will be honored for their charity work on October 17 at Denise Rich’s Angel Ball this year. The Cipriani Wall Street affair will also include performances by Patti LaBelle and DJ Cassidy. [Page Six]
Aside from doing Dior Homme, Kris Van Assche also designs his own men’s line. To showcase the Spring ’12 collection for the line, he teamed up with director Joost Vandebrug on his first fashion film. [Hint]
Dior Homme designer Kris Van Assche has made his particular brand of loose tailoring his trademark at the label, and recent collections have explored the ins, outs, and undersides of the atelier’s craftsmanship. It takes center stage—make that center screen—in Enfold/Unfold, a new short film Belgian photographer Willy Vanderperre created with Van Assche to spotlight Dior’s Fall 2011 collection. Shot at the Tennis Club de Paris, where the collection was shown, the short contrasts the softness of the clothing with the architecture of the set and and the venue. The film officially premieres tomorrow in Paris in honor of Fashion’s Night Out, when it will also go on www.diorhomme.com; here, Style.com offers an exclusive first look.
In recent years—with only a few notable exceptions—former Dior Homme designer Hedi Slimane has preferred to be seen (through his photographs, for magazines and on his frequently updated online Diary) than heard. But for the April of Menswear, published by Women’s Wear Daily, Slimane sat down with the magazine’s Miles Socha for a Q&A. The full interview—in advance of the publication of Anthology of a Decade, a four-volume edition of the designer-turned-lensman’s photographs, including the one above—arrives on newsstands and online on Monday. Below, an exclusive preview.
Has being a photographer given you a more objective view of the fashion industry?
Hedi Slimane: It seems quite refreshing to be on this side of fashion, to have the distance and freedom. The fashion system has been busy keeping up with broadband and blogging/social networking. It is not always for the best, but it did give fashion a global audience. The unfortunate outcome might be the obsession and collusion between the celebrity culture and high fashion. It is just a big global mess of random endorsement. Nothing looks worse than a dress or a suit on a red carpet. It is an ongoing tragedy of cheap fashion on cheap celebrities, followed by ubercheap comments. I only like designers’ clothes on models. Good models have an inner understanding of the clothes and design.
Any predictions about the next big look?
I would need to be back in an atelier to answer you…But we should drop for good this predictable story each season about a lean and youthful male figure versus conventional men’s wear and male proportions. There is obviously room for everything…Besides, an athletic man, or whatever you want to call him, will only look good in a very classic suit, a pair of classic jeans, athletic clothes, or simply naked. Forget fashion. This is not going to happen, unless you want to look like a Chippendales dancer in designer clothes…And by “fashion,” I mean men’s fashion at the same level as women’s. This is what I always pursued during my design years, defending the idea of men’s fashion rather than men’s wear.
Paparazzi: Take a lesson from Patrick McMullan (pictured, right), godfather of party photogs: stop taking pictures of Lindsay Lohan passed out in the backseat of a car. [NYT]
Suave overload: Guy Ritchie is shooting Jude Law for a Dior Homme fragrance ad. We’re a little concerned so much roguishness in one place may throw the earth off its orbit, but it’s a risk worth taking. [WWD]
And speaking of models, rumor has it that Lara Stone is to be the new face of both Calvin Klein Collection and Calvin Klein jeans—a tribute, perhaps, to her high-fashion chops and her sexy (and much-remarked-upon) curves. CK is keeping mum, but if we were Eva Mendes, we’d be hitting the audition circuit a little harder right now. [WWD]
And since it’s been almost a full week without an Alice in Wonderland update, here’s your fix: Mad jeweler Tom Binns talks tea parties and smashing baubles in this new video interview. [Youtube]
George Barnett’s first modelling job was Hedi Slimane’s last show for Dior Homme in 2007. Since then, his wraith-pale, angular features have made him one of the most recognisable faces in men’s fashion. He’s got the saintly sinner look that appeals to designers like Alber Elbaz and Miuccia Prada. But modeling is moonlighting for him. His heart belongs to These New Puritans, the band he formed with his twin brother Jack, bassist Thomas Hein and keyboard player Sophie Sleigh-Johnson. Though Jack does the writing and singing, it’s George’s drumming that anchors the band’s new album Hidden. It manages to sound complex (George says his hero is that crown prince of the paradiddle, Bill Bruford, once drummer for Yes and King Crimson), tribal and even a little medieval, all at the same time, which is actually a pretty reasonable description for the odd but alluring art rock of the Puritans. Give “Three Thousand,” “Attack Music,” or “Drum Courts – Where Corals Lie” a whirl while you think about George Barnett, living proof that it’s handy to have Something Else to fall back on.